The Good Soldier And Brideshead Revisited

Generals Die in Bed certainly demonstrates that war is futile and the soldiers suffer both emotionally and physically. Charles Yale Harrison presents a distressing account of the soldiers fighting in the Western front, constantly suffering and eventually abandoning hope for an end to the horrors that they experience daily. The ‘boys’ who went to war became ‘sunk in misery’. We view the war from the perspective of a young soldier who remains nameless. The narrator’s experience displays the futility and horror of war and the despair the soldiers suffered. There is no glory in

The topic of war is hard to imagine from the perspective of one who hasn't experienced it. Literature makes it accessible for the reader to explore the themes of war. Owen and Remarque both dipcik what war was like for one who has never gone through it. Men in both All Quiet on the Western Front and “Dulce Et Decorum” experience betrayal of youth, horrors of war and feelings of camaraderie.

Ernest Hemingway “Soldier’s Home" is an outstanding short story that shows the tragic impact of war on the life of a young soldier who returns home. The story paints a vibrant picture of a soldier’s life after coming back from a shocking experience. Hemingway shows impacts of war on a soldier with the main character being Harold Krebs, who faces hostility in his hometown after his return from fighting in the war. The main character in the story is Kreb with the author making usage of repetition, characterization, and symbolism to bring out the message in the story.

The text, ‘The Things They Carried', is an excellent example which reveals how individuals are changed for the worse through their first hand experience of war. Following the lives of the men both during and after the war in a series of short stories, the impact of the war is accurately portrayed, and provides a rare insight into the guilt stricken minds of soldiers. ‘The Things They Carried' shows the impact of the war in its many forms: the suicide of an ex-soldier upon his return home; the lessening sanity of a medic as the constant death surrounds him; the trauma and guilt of all the soldiers after seeing their friends die, and feeling as if they could have saved them; and the deaths of the soldiers, the most negative impact a war

Even though the soldiers join the war as naive youths, the war rapidly changes them and they develop into young men. Surrounded by death, the boys are bound to foresee the fragility of their own lives and are stripped of the carelessness and brazenness of youth. The dreadful horrors around the boys bound them to consider a world that does not accommodate to their childish and simplistic view. They want to only see a separation between what is right and what is wrong, they instead find moral doubt. Where they had wanted to see order and meaning, they only found senselessness and disorder. Where they wanted to find heroism, they only found the selfish instinct of self-preservation. These realizations destroyed the innocence of the boys, maturing and thrusting them into their manhood.

December 1943: Charlie Brown and his crew struggled back to England aboard their badly damaged B-17. Franz Stigler finds the struggling aircraft and defying orders, does not strike the plane down. This event was “the most incredible encounter between enemies in World War II.” (BACK COVER). In A Higher Call, Adam Makos tells the story of these men from both sides by telling the before, during, and after of the incredible encounter through the eyes of both men. As this encounter came to light decades later, a question was raised by many: can those of the side of the enemy have good within them? Franz's and Charlie's encounter embodies a larger question found in war and conflict. Through telling the story of the encounter between Franz and Charlie, Makos answers (positively) the question, can good men be found on both sides of a war? The events illustrated in the book brings the reader to conclude good men and good acts can be found on both sides of the war.

When reading literature we often attempt to use particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, we have to consider the text from multiple viewpoints. We must take into consideration intentional and affective fallacies and the socioeconomic circumstances of the presenter/author/narrator. We also have to consider how our personal experience creates bias by placing the elements of the story into the web of relationships that we use to interpret the external world. There also is the need to factor in other external pressures, from societal norms, cultural ideals, and psychological themes, and how

George, unlike the reader however, is unaware of Editha’s dishonest reasons for her support of the war and ignorantly goes off to war with the innocent belief that his girlfriend actually cares about the outcome of the war itself and not that it might potentially shape him into the man she secretly wishes he was. Howell’s use of Editha and her deceitful motives for supporting the war add a layer of realism to the story, as peoples’ motives in real life are not always pure.

Harold Krebs, the main character of the Ernest Hemingway’s story “Soldier’s Home”, has become a shell of a man. After the war, he can’t quite find his place of belonging in the world. Nothing comforts him anymore and surely no one understands him. By not being what his parents and society expect him to be, the void between them only deepens. On the contrary, Charley Simmons is everything people want him to be.

Modernism, as an artistic movement, was notoriously explicit about depicting sex. Indeed much of the history of Modernist literature involves censorship and legal embargoes against work which was deemed too obscene to be permitted general availability and Modernist novels ranging from Joyce's Ulysses to Henry Miller's Tropic of Cancer would have to overcome legal hurdles before they could be read. The importance of Paris as a center for publication activity cannot be understated here: both James Joyce and Henry Miller were able to have their work published in Paris when no-one in an English-speaking country would take the risk. But this was established before Modernism a generation earlier, Oscar Wilde's play Salomé was written in French, but was banned from being staged in London for its religious (rather than sexual) content. It is worth asking, then, what role was played by explicit sexuality in defining Modernist art and Modernist consciousness. An examination of works by Henry Miller, Anaïs Nin, and Djuna Barnes may demonstrate that, to a large extent, the description of sexuality served a two-fold purpose: it helped Modernism define itself against the proprieties of earlier literature, but it also represented an inward turn for art. By emphasizing the interiority of consciousness, Modernist novels were making an implicit turn away from dealing with the outer political turmoil of the decades which produced not only Modernism, but the two World Wars.

William Dean Howell’s “Editha” gives a rich feel for the way for how the people of the United States viewed war and the way people should react. Through the of romantic love, patriotism, honor and duty and transcendent humanism Howell displayed how much pressure men were put under in the eyes of their women and community to participate in the brutality of the war. Men obviously withheld this role simply because it was not a task for women to preform, therefore women did not take the lifelong harm that could be caused into deep consideration which could clearly be interpreted through “Editha”.

Modernist writers strive to depict reality in a wholesome, tangible format that reveals the truth of the moments being presented. Their works bring a sense of reality into their narratives that allow the audience to gain a deeper insight into their characters motivations, desires, and faults. The authors involved with the modernist movement consider there is no such thing as absolute truth, everything is relative, there are too many competing perceptions of truth and reality for there to be one absolute. William Faulkner and F. Scott Fitzgerald are two authors that pushed the boundaries of their time with their writings, forcing their audiences to face certain truths about themselves and their forged reality. Even though these two authors had very different writing styles they were still able to captivate their audiences with narratives that still hold sway and importance with today’s readers. William Faulkner’s “As I Lay Dying” and F. Scott Fitzgerald’s “Babylon Revisited” though inherently different narratives with drastically different styles each depict the lengths family will go to accomplish certain goals at times, going as far as using deception to obtain these goals. How does the style that the narrative is told affect how the story is received by its audience?

In Rebecca West’s novel, The Return of the Soldier the reader is introduced to a man named Chris Baldry who suffers from shell-shock fighting in the war. When he returns home, he has no recollection of the past fifteen years of his life. What he remembers, is being in love with a woman named Margaret, the daughter of an innkeeper. However, what he inevitably comes home to is a wife named Kitty and a cousin named Jenny who have been earnestly awaiting his return. Although West portrays Chris to be a ‘victim’ so-to-speak within the novel due to his amnesia, the real trauma that he would experience was awaiting him at home, back at Baldry Court. Chris’ return would lead to a major upset in the lives of the women in his life, but for himself as well despite the fact he cannot account for a little over a decade of his past.

In The Good Soldier, Ford Max Ford explores various aspects of modernism. One of the most frequently featured themes of this literary movement is epistemology or the search for knowledge and truth. In modernist writing, epistemology is a strikingly potent feature. Writers often comment on the limits of knowledge or how one commands and holds knowledge. Ford Max Ford focuses upon the limits of knowledge. Throughout his novel, the narrator, John Dowell, is trying to form a story – “the saddest story I have ever heard” (Ford 5). In his attempt to structure a story, he is hunting for knowledge as he grasps for the facts so he can narrate the story. However, it is not only his hunt for knowledge that the reader is focused upon but also his limit

As Julian Hanna wrote, ‘The inward turn or exploration of the psyche often said to characterize modernist literature is difficult to imagine without Freud’. Woolf seems uninterested in the external influences that occur during the period of the novel, and passes over significant events such as World War One, and the marriage and deaths of her characters, effectively capturing these within 10 concise chapters.